Russian Steps - Raymonda Act III, Concerto, The Firebird

Published Friday 10 October 2008 at 15:50 by Pat Ashworth

This is a sensational celebration of three great Russian composers, and the dynamic of the evening builds to a huge climax.

Raymonda is a showcase of intricate steps, high-stepping movement and arched and angular poses. The ponderous solemnity of the Hungarian massed dancing loosens into something more unrestrained, and there are beautifully studied performances from Nao Sakuma and Cesar Morales as the lovers. It is classical ballet to admire for its technical virtuosity.

What it doesn’t do is reach into the soul. So leaving its lavish marble halls for the empty stage and pale golden light of Concerto is like drinking a glass of fizzy water. It is quirky and enigmatic and offbeat, with simple and startling friezes of dancers and endless permutations and reconfigurations of movement, especially in the trios. It is fresh and youthful, and Joseph Caley in particular dances it as though inspired.

Birmingham Royal Ballet loves Stravinsky and The Firebird is one of its most extraordinary offerings. Carol-Anne Millar is an elusive and cocky Firebird whose slow surrender to Ivan Tsarevitch (Matthew Lawrence) never compromises her individuality. The white-clad Enchanted Princesses have a Pre-Raphaelite grace that enchants and a connectedness that intrigues.

It all just gets bigger and more epic, as the eruption of weird and wonderful monsters and courtiers on to the stage turns into a great body that moves and rolls as one. The finale against the myriad onion domes of St Petersburg burns itself on the mind as one of the most rapturous visions in ballet.